Relevant bibliographies by topics / Political theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Political theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "Political theatre"

1

Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.

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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.

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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and politi­cal) theatre should be an entertaining theatre. The Norwegian theatre company Håloga­land Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political mes­sages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Håloga­land Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
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Frank, Vojtěch. "Musical Theatre as an Object of Transnational Political Exchange." Historical Studies on Central Europe 2, no. 1 (June 16, 2022): 219–36. http://dx.doi.org/10.47074/hsce.2022-1.10.

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The paper focuses on the ways Czech-language theatres in Czechoslovakia were dealingwith the obligatory presence of Soviet operetta titles in their repertoire, dating from about 1950to 1989. The reform of Czech musical theatre began right after World War II. In search of the right,nationalized form of operetta, Czech theatre organs soon understood that the example must bedrawn from the hegemonic Soviet culture. In the Soviet discourse, mainly Isaac Dunayevsky’soperettas were considered masterpieces, and Czech theatre politicians were soon paying theirattention to them. After some initial difficulties in obtaining material for the operettas, Dunayevsky’spieces entered Czech theatre and stayed on the repertoire to the beginning of the 1960s. Afterthe Warsaw Pact Invasion in 1968, Soviet operettas re-entered the theatres’ repertoire; however,their reception and staging circumstances were much more complicated. The paper focuses on themain tendencies in staging Dunayevsky’s operettas in Czechoslovakia, the political and culturalbackground of productions, and the various ways of presenting it in Czech society and culture. Thecultural and historical microprocesses analysed may then throw light on a wider range of historicaland cultural phenomena, including cultural transfers and relations between Czechoslovakia and theSoviet Union, the discrepancies between the official and unofficial discourse, as well as the role ofpopular musical theatre in a socialist society.
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Hamidi-Kim, Bérénice. "Post-Political Theatre versus the Theatre of Political Struggle." New Theatre Quarterly 24, no. 1 (January 30, 2008): 41–50. http://dx.doi.org/10.1017/s0266464x08000043.

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In this article Bérénice Hamidi-Kim tests the hypothesis that two conflicting interpretations of the notion of ‘political theatre’ exist on the French stage today. She suggests that each is based on a specific ideology stemming from a specific conception of history and policy, which results in a legitimation of the theatre and of artists both in the theatrical field and in society at large. One, which she calls ‘post-political theatre’, seems to proceed from a radical anthropological and political pessimism, and has deliberately severed all links with all previous forms of political theatre and given up any revolutionary ambitions. The other, which she calls ‘political-struggle theatre’, proudly embraces the legacy of the earlier forms of revolutionary political theatre – the epic form of documentary theatre in particular – and is attempting to revive the political ambition of contributing to a comprehensive, coherent critical project, based on the assumption that theatre is a preparatory school for reality and for political action. Bérénice Hamidi-Kim's doctoral thesis was entitled ‘The Cities of Political Theatre in France from 1989 to 2007’. She is also author of ‘Quelle place politique et culturelle pour le cadre de l'Etat-Nation dans le théâtre de gauche français?’ in the e-review Sens Public (2006), and of ‘Théâtre populaire, immigration, intégration, et identité nationale’, forthcoming in the February 2008 issue of Etudes Théâtrales.
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Seppälä, Mikko-Olavi. "S.O.S. - A Pacifist Intervention in Helsinki 1929. The Intercrossing of Modernism and Socialism." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 39. http://dx.doi.org/10.7146/nts.v28i1.23971.

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The article examines the co-operation between a (Swedish-speaking) modernist author with a (Finnish-speaking) workers’ theatre in 1920s Finland. It shows how modernist aesthetics and the socialist movement met in the practices of the workers’ theatres and what dangers lay in this combination. I am especially interested in the moments when the radical intelligentsia - artists, writers, and theatre directors - joined forces with the workers’ theatres in order to create political theatre. Political turmoil was about to occur when Hagar Olsson’s play S.O.S. premiered in Helsinki in March 1929. The venue was the Koitto Theatre (in Finnish ”Koiton Näyttämö”), a semi-professional workers’ theatre run by a socialist temperance association, already known for its performances of German expressionist plays. In my paper, I ask what goals lay behind the co-operation between Olsson and Koitto – and what came out of it?
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Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (December 1, 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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Fareeha Zaheer. "Theatrical Milieu: Investigating Drama and Theatre in tandem with Socio-Political Landscape of Pakistan." sjesr 4, no. 2 (May 25, 2021): 278–87. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(278-287).

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This study is an attempt to trace the impacts of socio-political conditions in the formation and evolution of drama and theatre traditions in Pakistan. It provides the genesis of theatre and drama in Pakistan intertwining it with the past and present situations of this genre of literature. It also ventures at the inert position of drama and theatre in English in Pakistan. Qualitative textual analysis is conducted to analyze and highlight the major available critical acumen in the genre of Pakistani drama and theatre. The methodology adopted is interpretive of the theatrical performances by major theatre groups, and the contributions of key playwrights in cementing the foundation of drama and theatre traditions. The major findings are related to the socio-political situations prevalent since the inception of Pakistan and their significance in shaping both dramas in writing and drama in performance. It also examines the role of pioneer theatrical groups and their projects that carved a niche in the theatrical landscape of Pakistan. As compared to fiction theatre and drama remained sporadic and lackluster affair in Pakistan, it is vital to have a deeper understanding and clarity of the socio-political issues that shaped resistance &political theatres and later commercial theatre groups.
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Tillis, Steve. "CONCEPTUALIZING SPACE: THE GEOGRAPHIC DIMENSION OF WORLD THEATRE." Theatre Survey 52, no. 2 (November 2011): 301–27. http://dx.doi.org/10.1017/s0040557411000408.

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Geography has been accorded surprisingly little attention in the study of world theatre history. Maps are by no means the sum total of geographic knowledge, but their existence (or the lack thereof) provides a handy indicator of an author's interest in the subject. Oscar G. Brockett and Franklin J. Hildy'sHistory of Theatrehas numerous pictures of actors and diagrams of theatres but only one map that directly pertains to theatre. All the rest of its maps (of which there are fewer than two dozen) are standard-issue political maps.Theatre Histories: An Introduction, by Phillip B. Zarrilli and others, is groundbreaking in many ways, but it includes only six maps, and none of these directly concerns theatre. Each of the six volumes ofThe World Encyclopedia of Contemporary Theatreincludes only one map, a basic political one. Other standard reference works on the history of theatre contain no maps; these includeThe Cambridge Guide to Theatre,The Oxford Companion to the Theatre, andThe Oxford Encyclopedia of Theatre and Performance.Numerous types of map might be relevant for a study of theatre, but aside from the occasional political map, the basic overviews of theatre history do not include such resources.
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Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (April 20, 2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.

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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).
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Dissertations / Theses on the topic "Political theatre"

1

Reynolds, Ryan Michael. "Moving targets: Political theatre in a post-political age." Thesis, University of Canterbury. Theatre and Film Studies, 2006. http://hdl.handle.net/10092/898.

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This thesis gauges the contemporary landscape of political theatre at a time in which everything, and consequently nothing, is political. That is, almost all theatres today proclaim a politics, and yet there is widespread resignation regarding the inevitability of capitalism. This thesis proposes a theory of political action via the theatre: radical theatre today must employ a strategy of "moving targets". Theatrical actions must be adaptable and mobile to seek out the moving targets of capital and track down target audiences as they move through public space. In addition, political theatre must become a moving target to avoid amalgamation into the capitalist system of exchange. I approached this topic through four case studies. Two of the case studies, Reverend Billy's Church of Stop Shopping and the Critical Art Ensemble, are based in the United States. I studied their work via materials - books, essays, videos, websites, interviews, and more - but not in person. The other two case studies are lifted from my own experience with the Christchurch Free Theatre: an original production of Christmas Shopping and a devised production of Karl Kraus' play The Last Days of Mankind. These latter two case studies served as laboratory experiments through which I was able to test ideas and problematics of political theatre that arose through my research. These case studies led to the determination that creating aesthetic experiences and actions - as opposed to having explicitly political content - can be a strategy or foundation for a radical political theatre that resists, undermines, and at times transcends the seeming inevitability of consumer capitalism. In an age in which any political intervention is seen as senseless disruption, a form of pointless violence, this theatre has adopted the strategies of terrorist actions to have a disruptive effect without positing a specific alternative social structure.
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Al-Masri, Muzna. "Political theatre : football and contestation in Beirut." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18235/.

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This thesis explores the relationships between political elites and their constituencies, looking specifically at the emergence and production of a new type of political elite in post-war Lebanon. Based on micro-level ethnographic research amongst Beirut’s Sunni communities, mainly within Nejmeh Sports Club, I explore the crystallisation of the model of an ‘entrepreneurial elite’ as exemplified by the late Prime Minister Rafic Hariri, who came to be the club’s patron. The most popular football club – and indeed sports club – in Lebanon, Nejmeh embraced members from different social classes, sectarian affiliations and political camps. It therefore provided a rare fieldwork site from which to observe the negotiation of clientelistic relationships, and to do so over an extended period, including times of heightened political – and occasionally violent – conflict. The stadiums provided a theatre for the spectacular performance of politics, wealth and power, and the events which took place in them mirrored the interplay of both local and global transformations occurring over the span of almost two decades. My research argues that the post-war period ushered in a new ‘glocal’ model of political elite which combined a corporate background and the performative use of wealth with well-tried tactics of ascendance to power, namely philanthropy, sectarianism and clientelism. It is a model which amalgamated seemingly contradictory rhetoric and practice. Its rhetoric of professionalism, democracy, championing of state institutions, and nonviolence often paralleled practices of corruption, vote-buying, and the support of strong-arm racketeering. This model of an elite functioning at the highest level of Lebanese politics, moved the locus of power, as well as economic opportunities, into the control of an ever smaller number of people, marginalising both the power and roles of those actors operating further down the class and clientelistic hierarchy of relationships. Within such a hierarchy, public demonstrations of loyalty performed by those in the lower echelons of society served to simultaneously lay claim to the elite’s favours and to suppress alternative or dissident voices.
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Clements, Rachel Elizabeth Adelaide. "Hauntology and contemporary British political theatre 1995-2010." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529760.

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Eren, Buglalilar. "Theatre And Struggle: A Sociological Analysis Of The Political Theatre In Turkey Between 1960-1971." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614246/index.pdf.

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This thesis investigates the relationship between the social movement and theatre art in Turkey between 1960 and 1971 and investigates how the development of a dependent capitalism influenced the development of the classes and the political theatre. It tries to reveal the convergences between the political ideology of the classes, their organizations and the aesthetic ideology of the field of cultural production. While doing so it investigates the ties between the ideological and practical aspects of the class struggle, the artists&rsquo
aesthetic views and their relations of production.
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Mundrawala, Asma. "Shifting terrains : the depoliticisation of political theatre in Pakistan." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2353/.

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This dissertation examines the shifts in the practice of political theatre in Pakistan through the study of two theatre groups, the Tehrik e Niswan (The Women's Movement) and Ajoka (Of Today), that emerged in the 80's under General Zia ul Haque's military regime, and through newer theatre groups (Raasti, Murk, Hayat e Nau) and NGO-based theatre training organisations (Interactive Resource Centre, IRC) that were created or were impacted by the advent of neoliberalisation in the country in the 90's. The impact of finances not only influenced the growth of many small theatre groups that prescribed to the needs and demands of the NGOs under the broader Development agenda, but also saw shifts in the work of Tehrik e Niswan and Ajoka, from the voluntary and ideology-based nature of their work to one that was ultimately incorporated into the dominant culture. Moreover, what was evident through the work done by theatre groups under the development agenda was that theatre as a tool for social critique was depoliticised and seen as a commodity, transforming its role from self-directed activism to donor-driven activism. One common aspect between the groups under discussion is their underlying adherence to western orientated approaches to political theatre through the theories of Brecht or Boal, which informs their work in many ways. While examining how Brecht's theories have influenced the practices of Tehrik e Niswan and Ajoka, or Boal's theories have been used and even extracted from their original context by the IRC, I also argue for a need to re examine notions about selfhood and agency that the groups advocate in their practice, through analysing or examining alternative concepts of agency in non liberal traditions and away from thedominant discourse.
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Johanson, Rachel. "Let Me Be Veiled: Deconstructing Gender in Iran and the United States." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275596670.

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Hillman, Rebecca Anne. "(Re)constructing political theatre : negotiating discursive and practical frameworks for theatre as an agent for change." Thesis, University of Reading, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632830.

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The main aim of this research is to offer a reconceptualisation of the efficacy of live performance for instigating social and political change. In order to do so, it explores a range of practical forms and theoretical contexts for creating political performance in Britain. It also formulates new perspectives and methodologies to encourage and add to the production of political performance for the twenty first century. The perceived failure of the organised Left after the end of the Cold War, and the relativism of postmodern theoretical perspectives, has signalled for many the demise of political theatre. In 2013, the concept of live performance as having efficacy to instigate political change remains contested. Yet in fact, some politically motivated performance has demonstrably facilitated change, and critical frameworks have been developed that account for contemporary performances that hold definitive political stances. Meanwhile, political activism has continued to fluctuate and transform rather than simply to dissipate since 1989. As part of this transformation, activist movements have arguably incorporated and generated philosophies and forms associated with postmodernism, rather than having been straight forwardly defeated by them. Today, Capitalism is once again being resisted with renewed urgency. Meanwhile, theatre practitioners in Britain and elsewhere are harnessing theatre as a tool to fulfil the agitprop mantra: 'educate, agitate, organise'. As the written component of a practice based Ph.D., the arguments contained in this thesis developed out of direct engagement with my research-practice. This was a site-specific performance devised in Reading in 2011 , which considered the impact of current economic policies and political systems on the lives of local people. As well as finding agency in a 'deconstructive' aesthetics associated with postmodern art, the performance also looked back to theatrical forms and methodologies developed by practitioners working in Britain in the 1970s. In light of the successful deployment of such forms and methodologies, and the popular conception that much 1970s practice is outmoded today, this thesis argues for the enduring relevance of agitprop forms specifically. It questions how 'political theatre' has been discursively constructed from the late 1960s-present, and demonstrates how, in combination with other theatrical models, agitprop forms can operate effectively in contemporary contexts. This research theoretically and practically (re)constructs political theatre with a view to the agency of old forms for strengthening new forms of resistance, whilst locating possibilities for politically progressive art in diversity and definitiveness.
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Tapp, Ivey R. "Political Theatre in Public Spaces: Manifesting Identity in Venice, Italy." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/anthro_theses/59.

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The combination of poorly managed mass tourism, rapidly increasing international migration, and a declining economy facilitated a permanent exodus of natives out of the Venetian lagoon. This thesis examines how the community activism group and social network Venessia.com attempts to reclaim a place-­based and place-­manifested Venetian identity (venezianità) through theatrical public protests. While members are sensitive to an ethic of intercultural awareness, the discourse accompanying their concerns reveals nostalgia for the power and grandeur of Venice’s past that is threatened by a perceived invasion by suspicious outsiders. The theoretical framework I employ to illuminate Venessia.com's efforts includes the socio-­cultural and economic implications of mass tourism, theory of space and place, and critiques of modernity and postmodernity.
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Books on the topic "Political theatre"

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John Ford's political theatre. Manchester: Manchester University Press, 1994.

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Ukpokodu, Iremhokiokha Peter. Socio-political theatre in Nigeria. San Francisco: Mellen Research University Press, 1992.

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Filewod, Alan D. Committing theatre: Theatre radicalism and political intervention in Canada. Toronto: Between the Lines, 2011.

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Committing theatre: Theatre radicalism and political intervention in Canada. Toronto: Between the Lines, 2011.

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Defiance: Political theatre in Brisbane 1930-1962. Mount Nebo, Australia: Boombana Publications, 2000.

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Gerald, Hewitt, ed. The political theatre of David Edgar. Cambridge: Cambridge University Press, 2011.

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Hartley, Andrew James. Shakespeare and Political Theatre in Practice. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-0-230-37005-0.

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Kritzer, Amelia Howe. Political Theatre in Post-Thatcher Britain. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582224.

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Clifford Odets and American political theatre. Westport, Conn: Praeger, 2003.

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Revolutionary theatre. London: Routledge, 1994.

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Book chapters on the topic "Political theatre"

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Barker, Clive. "Alternative Theatre/ Political Theatre." In The Politics of Theatre and Drama, 18–43. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21792-2_2.

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Morgan, Margot. "Introduction: Political Theatre and the Theatre of Politics." In Politics and Theatre in Twentieth-Century Europe, 1–17. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370389_1.

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Fotheringham, Richard. "The Politics of Theatre and Political Theatre in Australia." In The Politics of Theatre and Drama, 66–83. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21792-2_4.

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Morgan, Margot. "Conclusion: Political Theatre as Political Practice." In Politics and Theatre in Twentieth-Century Europe, 147–66. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370389_6.

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Heddon, Deirdre, and Jane Milling. "Devising and Political Theatre." In Devising Performance, 95–129. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-42678-9_4.

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Reid, Trish. "Practices: Popular and Political." In Theatre & Scotland, 31–49. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29664-1_3.

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Hughes, Derek. "Political Crisis." In The Theatre of Aphra Behn, 116–32. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230597709_7.

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Hughes, Derek. "Political Triumph." In The Theatre of Aphra Behn, 133–57. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230597709_8.

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Mouffe, Chantal. "On the political." In The Applied Theatre Reader, 77–79. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-16.

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Kritzer, Amelia Howe. "Politics and Theatre." In Political Theatre in Post-Thatcher Britain, 1–26. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582224_1.

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Conference papers on the topic "Political theatre"

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Brandt, Galina. "Interpenetration Phenomenon of Public & Private Aspects in Contemporary Theatrical Practices." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-12.

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The article hypothesises that the opposition of ‘publicity/privacy’ concepts (alongside with other fundamental dichotomies, e.g. spiritual/material, social/individual, political/personal) in the media era, and first of all in the era of the Internet together with related communicative resources, is no longer productive. The study was performed via discursive analysis since it concerns methods of making use of the original concepts of ‘publicity’ and ‘privacy’. The author also addresses media survey methods since it is a contemporary media context that guides changes in the balance between the concerned phenomena. The deconstruction method is also important since the theatre institution itself, on the example of which the phenomenon of the interpenetration of the public and the private is examined, is deconstructed and shadowed by absolutely new theatrical practices. The culturological approach is the paradigmal prism through which the declared topic is researched, since the study goal is to demonstrate how ‘current’ (Z. Bauman) changes of the modern cultural landscape change habitual ideas on some or other dichotomies, particularly the dichotomy of ‘publicity/private’. The aforementioned research tools were used in the study to address theatrical practices explicitly demonstrating the removal of the dichotomy of public and private. A closer look was taken at the play ‘Questioning’ staged by the contemporary Petersburg theatre Pop-up, and where invasion of publicity into the area of privacy and intimity, and exposition of aspects taken out from ultimate existential depths constitutes the very essence of the play. The article concludes that such theatrical practices can take place when the cultural horizon is extended to enable the attribution of a new semantic scope, in particular ‘forced publicness’ (E. Shulman).
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Bol'shakov, YA O. "Pre-revolutionary theater life in the Vologda province: coverage in the press." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-02-2020-04.

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.
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Houe, Poul. "Out of Norway: Ibsen Attuned to Our Age of Populist Anger and Political Theater." In CSS Conference 2019. Centre for Scandinavian Studies Copenhagen – Lund, 2020. http://dx.doi.org/10.37852/63.c116.

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Aydarova, Elena. "Fiction-Making in Audit Cultures: Political Theater of Teacher Education Accountability Regimes in the Russian Federation." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1570538.

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Poulios, A., A. Iliadis, and M. Seiragakis. "Satirical song in the Greek theater of the 20th century: aspects of political and social criticism - identity issues - stylistics." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_213.

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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.

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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.
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Reports on the topic "Political theatre"

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Tyson, Paul. Orchestrated Irrationality: Why It Exists and How It Might Be Resisted. Mέta | Centre for Postcapitalist Civilisation, May 2022. http://dx.doi.org/10.55405/mwp13en.

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Orchestrated irrationality in our public discourse is produced by technologically enhanced and commercially purposed atomization and tribalism. Public discourse now leans away from a humane, free, and reasoned political rationality and towards self-interested, calculative, herd conformism. The bulls and bears of consumer society have largely displaced the civic logic of the liberal democratic pursuit of the common good. The power interests that govern global consumerism are enhanced by subordinating the common good ends of genuinely political life to the self-interested and profit driven dynamics of the market. Orchestrated irrationality in our public discourse makes politics into a meaningless theatre of incommensurate tribal interest narratives, which is a convenient distraction from the collaborative consolidation of market power and state control. This orchestrated irrationality can only be combatted by seeking to de-atomize citizens and de-tribalize the public square in order to recover the priority of political life over market and authoritarian power in our public discourse. That is, a postcapitalist civilization that is oriented to a genuinely political and universally moral rationality must replace the present global order. Once we can identify the problem and the direction of cure for orchestrated irrationality, we can then take steps towards a different civilizational life-world.
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Terstegge, Stephen D. Ballistic Missile Defense in the European Theater: Political, Military and Technical Considerations. Fort Belvoir, VA: Defense Technical Information Center, April 2007. http://dx.doi.org/10.21236/ada468576.

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Adamson, Fiona. Trump’s Executive Orders on Migration and Security: Policy Incompetence, Political Theater or Ideological Pivot? Center for Migration Studies, February 2017. http://dx.doi.org/10.14240/cmsesy020917.

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Brlecic, Jeffrey W. Theater Strategic and Operational Level Command and Control Warfare: The Legal, Moral, and Political Considerations of Leadership Targeting. Fort Belvoir, VA: Defense Technical Information Center, February 2001. http://dx.doi.org/10.21236/ada395644.

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